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“Do you not want all the gold the world has to offer?” He asked.
Xanthe turned her head with a shy giggle letting her golden waves crest over her bare shoulder. “Areius, I don’t need any gold. I only need you. You are my treasure.”
Slipping his hands through her hair he kissed her lightly on the lips. “Let me. Let me spoil you with more than my kisses.”
“Why should I want to spoil? Is not the grape sweeter when it is ripe? Is the rose not grander before cut from the vine?”
Areius was lost in her amber eyes. The color of gold. Everything about her was as precious as that metal. Even her shining soul.
Xanthe pulled Areius’ fingers delicately into her hands. “I fear that the Golden Fleece has put fancies in your head, my love. The day you returned with Jason I was given more than I could ever want for.”
“But you deserve it.”
She placed a finger to his lips. He kissed it and held her gaze while she spoke. “I deserve you.”
“Medea has promised me a way.”
Xanthe drew her hands back. “She is a witch. You cannot trust her.”
“She helped us capture the Fleece,” he explained. “She would not trick me.”
After giving him a long look, she frowned. “Promise me you will give up this dream. Am I not enough for you?”
“You are,” he said in a low voice brushing away her golden hair before kissing her once more.
While he had not argued there in her arms, Areius was not convinced that Xanthe didn’t deserve all the gold in the world. When he had laid eyes upon the ram with the golden wool his heart had ceased to beat for a moment. He could think of nothing but his beloved. How his heart had missed her that day. Before he had taken the journey with Jason and the other Argonauts he had not known the grip Xanthe’s love had taken inside him. With the distance and time between them though he knew he wanted to give her everything. She deserved everything.
Against his beloved’s wishes he met with Medea.
“Gold?” The young witch eyed him.
“Yes, please. All the gold in the world.”
“Is Xanthe’s love not enough for you?” Medea narrowed her eyes. She knew first hand that love was never enough for any man.
“It is,” he said.
His sincere brown eyes made her sad. “Then why do you want this?”
“For her.”
“Does she not love you? Maybe you should consult Aphrodite or perhaps Eros.”
“Can you do it?”
Medea licked her bottom lip then clicked her tongue. “Anything for love.”
Areius thanked the beautiful witch and hurried back to find Xanthne. Medea had told him she would already be with her treasure. He climbed the small hill where they met each afternoon under an old cypress tree. Upon arriving, he could not see his beloved. She was never late. Not once and not even when had been to sea sailing on the Argos, for she had told him the story of how she met there every day sending him blessings on the breeze.
As he turned to find her, something shining on the other side of the hill caught his eye. It was Xanthe. He rushed to her.
“I only wanted you,” her breath was labored. She struggled to even blink.
“No,” Areius said scooping her into his arms as gold flaked off in perfect circles around her body. He noticed a pile under her swayed back. He stroked her stiff hair and it broke into pieces in his hands. It was pure gold now, like her fingers and her neck and even her sparkling eyes. “I love you," he pleaded as if the words could undo the witch's magic.
Xanthe never answered Areius. Immortalized in the desires of her lover she passed away in his arms. Legend says her saddened spirit returned to prey on the greedy. Many believe King Midus may have been her first victim.
The Cadillac Eldorado is a personal luxury car that was manufactured and marketed by Cadillac from 1953 to 2002 over ten generations. Competitors and similar vehicles included the Lincoln Mark series, Buick Riviera, Oldsmobile Toronado and Chrysler's Imperial Coupe.
The Eldorado was at or near the top of the Cadillac line during early model years. The original 1953 Eldorado convertible and the Eldorado Brougham models of 1957–1960 were the most expensive models that Cadillac offered those years, and the Eldorado was never less than second in price after the Cadillac Series 75 until 1966. Eldorados carried the Fleetwood designation from 1965 through 1972.
NAME
The nameplate Eldorado is a contraction of two Spanish words that translate as "the gilded (i.e., golden) one" — and also refers to El Dorado, the mythical South American "Lost City of Gold" that fascinated Spanish explorers.
Chosen in an internal competition for a 1952 concept vehicle celebrating the company's golden anniversary, the name Eldorado was proposed by Mary-Ann Marini (née Zukosky), a secretary in Cadillac's merchandising department — and was subsequently adopted for a limited-edition convertible for model year 1953.
Palm Springs Life magazine incorrectly attributes the name to the Eldorado Country Club in Indian Wells, California, a favorite resort of General Motors executives in the Coachella Valley — though the resort opened in 1957, five years after Cadillac's own naming competition.
Cadillac began using the nameplates 'Eldorado Seville' and 'Eldorado Biarritz' to distinguish between the hardtop and convertible models (respectively) while both were offered, from 1956 through 1960 inclusively. The 'Seville' name was dropped when the hardtop was initially discontinued (1961), but the Biarritz name continued through 1964. Beginning 1965, the Eldorado became the 'Fleetwood Eldorado'. 'Biarritz' returned as an up level trim package for the Eldorado for 1977.
FIRST GENERATION (1953)
The Cadillac Series 62 Eldorado joined the Oldsmobile 98 Fiesta and Buick Roadmaster Skylark as top-of-the-line, limited-production specialty convertibles introduced in 1953 by General Motors to promote its design leadership. A special-bodied, low-production convertible (532 units in total), it was the production version of the 1952 El Dorado "Golden Anniversary" concept car. Along with borrowing bumper bullets (aka dagmars) from the 1951 GM Le Sabre show car, it featured a full assortment of deluxe accessories and introduced the wraparound windshield and a cut-down beltline to Cadillac standard production.
The expansive frontal glass and distinctive dip in the sheetmetal at the bottom of the side windows (featured on one or both of GM's other 1953 specialty convertibles) were especially beloved by General Motors' styling chief Harley Earl and subsequently widely copied by other marques. Available in four unique colors (Aztec red, Alpine white, azure blue and artisan ochre — the last is a yellow hue, although it was shown erroneously as black in the color folder issued on this rare model). Convertible tops were available in either black or white Orlon. AC was an option, as were wire wheels. The car carried no special badging other than a gold-colored "Eldorado" nameplate in the center of the dash. A hard tonneau cover, flush with the rear deck, hid the convertible top in the open car version.
Although technically a subseries of the Cadillac Series 62 based on the regular Series 62 convertible, sharing its engine, it was nearly twice as expensive at US$7,750. The 5,610 mm long, 2,030 mm wide vehicle came with such standard features as windshield washers, a signal seeking radio, power windows, and a heater. The Eldorado comprised only 5% of Cadillac's sales in 1953.
SECOND GENERATION (1954–1956)
In 1954, Eldorado lost its unique sheet metal and shared its basic body shell with standard Cadillacs. Distinguished now mainly by trim pieces, this allowed GM to lower the price and see a substantial increase in sales. The Eldorados had golden identifying crests centered directly behind the air-slot fenderbreaks and wide fluted beauty panels to decorate the lower rear bodysides. These panels were made of extruded aluminum and also appeared on a unique one of a kind Eldorado coupé built for the Reynolds Aluminum Corporation. Also included in the production Eldorado convertible were monogram plates on the doors, wire wheels, and custom interior trimmings with the Cadillac crest embossed on the seat bolsters. Two thousand one hundred and fifty Eldorados were sold, nearly four times as many as in 1953.
For 1955, the Eldorado's body gained its own rear end styling with high, slender, pointed tailfins. These contrasted with the rather thick, bulbous fins which were common at the time and were an example of the Eldorado once again pointing the way forward. The Eldorado sport convertible featured extras such as wide chrome body belt moldings and twin round taillights halfway up the fenders. Sales nearly doubled to 3,950.
For 1956, a two-door hardtop coupé version appeared, called the Eldorado Seville at which point the convertible was named the "Eldorado Biarritz". An Eldorado script finally appeared with fender crest on the car which was further distinguished by twin hood ornaments. An extra feature on the Eldorado convertible was a ribbed chrome saddle molding extending from the windshield to the rear window pillar along the beltline. With the addition of the Seville, sales rose yet again to 6,050 of which 2,150 were Sevilles. Eldorados accounted for nearly 4% of all Cadillacs sold.
THIRD GENERATION (1957-1960)
1957 saw the Eldorado (in both convertible and Seville hardtop bodystyles) with a revised rear-end design featuring a low, downswept fenderline capped by a pointed, in-board fin. The rear fenders were commonly referred to as "chipmunk cheeks". This concept was used for two years, but did not spawn any imitators. Series 62 Eldorados (as distinct from the Series 70 Eldorado Brougham) were further distinguished by the model name above a V-shaped rear deck ornament and on the front fenders. The rear fender and deck contour was trimmed with broad, sculptured stainless steel beauty panels. Also seen were "shark" style fins pointing towards the back of the cars. A three section built in front bumper was another exclusive trait of the Series 62 Eldorados, which came with a long list of standard features. Four specially-built 4-door hardtop Eldorado Sedan Sevilles were also built in 1957.
1957 was chiefly notable for the introduction of one of GM's most memorable designs, the Series 70 Eldorado Brougham. Announced in December 1956 and released around March 1957, the Eldorado Brougham was a hand-built, limited car derived from the Park Avenue and Orleans show cars of 1953-54. Designed by Ed Glowacke, it featured the first appearance of quad headlights and totally unique trim. The exterior ornamentation included wide, ribbed lower rear quarter beauty panels extending along the rocker sills and rectangularly sculptured side body "cove" highlighted with five horizontal windsplits on the rear doors. Tail styling treatments followed the Eldorado pattern. This four-door hardtop with rear-hinged rear doors was an ultra-luxury car that cost an astonishing $13,074 — twice the price of any other 1957 Eldorado and more than the Rolls-Royce Silver Cloud of the same year. It featured a stainless steel roof, self leveling air suspension, the first automatic two-position "memory" power seats, a dual four-barrel V-8, low-profile tires with thin white-walls, automatic trunk opener, cruise control, high-pressure cooling system, polarized sun visors, electric antenna, automatic-release parking brake, electric door locks, dual heating system, silver magnetized glovebox, drink tumblers, cigarette and tissue dispensers, lipstick and cologne, ladies' compact with powder puff, mirror and matching leather notebook, comb and mirror, Arpège atomizer with Lanvin perfume, automatic starter with restart function, Autronic Eye, drum-type electric clock, power windows, forged aluminum wheels and air conditioning. Buyers of Broughams had a choice of 44 full-leather interior and trim combinations and could select such items as Mouton, Karakul or lambskin carpeting.
There were serious difficulties with the air suspension, which proved troublesome in practice. Some owners found it cheaper to have it replaced with conventional coil springs.
The 1957 Eldorado Brougham joined the Sixty Special and the Series 75 as the only Cadillac models with Fleetwood bodies although Fleetwood script or crests did not appear anywhere on the exterior of the car, and so this would also mark the first time in 20 years that a Fleetwood-bodied car was paired with the Brougham name. The 1957-58 Eldorado Brougham also marked the return of the Cadillac Series 70, if only briefly. Only 400 Eldorado Broughams were sold in 1957.
An all-transistor signal-seeking car radio was produced by GM's Delco Radio and was first available for the 1957 Eldorado Brougham models, which was standard equipment and used 13 transistors in its circuitry.
For 1958, GM was promoting their fiftieth year of production, and introduced Anniversary models for each brand; Cadillac, Buick, Oldsmobile, Pontiac, and Chevrolet. The 1958 models shared a common appearance on the top models for each brand; Cadillac Eldorado Seville, Buick Roadmaster Riviera, Oldsmobile Holiday 88, Pontiac Bonneville Catalina, and the all-new Chevrolet Bel-Air Impala.
On 1958 2-door Eldorados, a V-shaped ornament and model identification script were mounted to the deck lid. Two-door Eldorados also had ten vertical chevron slashes ahead of the open rear wheel housings and crest medallions on the flank of the tailfins. Broad, sculptured beauty panels decorated the lower rear quarters on all Series 62 Eldorados and extended around the wheel opening to stretch along the body sills. All-new was a special-order Series 62 Eldorado Seville, of which only one was actually built.
The major changes to the Eldorado Brougham in 1958 were seen inside the car. The interior upper door panels were finished in leather instead of the metal finish used in 1957. New wheel covers also appeared. Forty-four trim combinations were available, along with 15 special monotone paint colors. A total of 304 Eldorado Broughams were sold in 1958. 1958 was the last year for the domestic production of the handbuilt Brougham at Cadillac's Detroit factory, as future manufacturing of the special bodies was transferred to Pininfarina of Turin, Italy.
The 1959 Cadillac is remembered for its huge sharp tailfins with dual bullet tail lights, two distinctive rooflines and roof pillar configurations, new jewel-like grille patterns and matching deck lid beauty panels. In 1959 the Series 62 became the Series 6200. De Villes and 2-door Eldorados were moved from the Series 62 to their own series, the Series 6300 and Series 6400 respectively, though they all, including the 4-door Eldorado Brougham (which was moved from the Series 70 to Series 6900), shared the same 3,302 mm wheelbase. New mechanical items were a "scientifically engineered" drainage system and new shock absorbers. All Eldorados were characterized by a three-deck, jeweled, rear grille insert, but other trim and equipment features varied. The Seville and Biarritz models had the Eldorado name spelled out behind the front wheel opening and featured broad, full-length body sill highlights that curved over the rear fender profile and back along the upper beltline region. Engine output was an even 345 hp (257 kW) from the 6.4 L engine. Standard equipment included power brakes, power steering, automatic transmission, back-up lamps, windshield wipers, two-speed wipers, wheel discs, outside rearview mirror, vanity mirror, oil filter, power windows, six way power seats, heater, fog lamps, remote control deck lid, radio and antenna with rear speaker, power vent windows, air suspension, electric door locks and license frames. The Eldorado Brougham also came with Air conditioning, automatic headlight dimmer, acruise control standard over the Seville and Biarritz trim lines.
The 1960 Cadillacs had smoother, more restrained styling. General changes included a full-width grille, the elimination of pointed front bumper guards, increased restraint in the application of chrome trim, lower tailfins with oval shaped nacelles and front fender mounted directional indicator lamps. External variations on the Seville two-door hardtop and Biarritz convertible took the form of bright body sill highlights that extended across the lower edge of fender skirts and Eldorado lettering on the sides of the front fenders, just behind the headlamps. Standard equipment included power brakes, power steering, automatic transmission, dual back-up lamps, windshield wipers, two-speed wipers, wheel discs, outside rearview mirror, vanity mirror, oil filter, power windows, six-way power seats, heater, fog lamps, Eldorado engine, remote control trunk lock, radio with antenna and rear speaker, power vent windows, air suspension, electric door locks, license frames, and five whitewall tires. Technical highlights were finned rear drums and an X-frame construction. Interiors were done in Chadwick cloth or optional Cambray cloth and leather combinations. The last Eldorado Seville was built in 1960.
A different Eldorado Brougham was sold for 1959 and 1960. These cars were not quite so extravagantly styled but were very unusual pieces in themselves. Priced at $13,075, they cost $1 more, each, than their older siblings. The company contracted out the assembly to Pininfarina of Italy, with whom the division has had a long-running relationship, and these Eldorados were essentially hand-built in Italy. Ironically only now did it acquire Fleetwood wheel discs and doorsill moldings, presumably because the design work and final touches were still being done by Fleetwood. Discreet, narrow taillights integrated into modest tailfins, and a squared-off rear roof line with rear ventiplanes caused the Italian-built Brougham to contrast sharply to the rounded roof lines, and especially the new "rocketship" taillights and flamboyant fins of the standard 1959 Cadillacs, which are a feature only of that year. A vertical crest medallion with Brougham script plate appeared on the front fenders and a single, thin molding ran from the front to rear along the mid-sides of the body. It did not sport Eldorado front fender letters or body sill headlights. A fin-like crest, or "skeg," ran from behind the front wheel opening to the rear of the car on the lower bodysides and there were special crest medallions on the trailing edge of the rear fenders. The Brougham's styling cues would prove to indicate where standard Cadillac styling would head from 1960 through the early-mid-1960s. The standard equipment list was pared down to match those of other Eldorados, plus Cruise Control, Autronic Eye, air conditioning and E-Z Eye glass. The Brougham build-quality was not nearly to the standard of the Detroit hand-built 1957–1958 models, and thus the 1959–1960 Broughams did not sell as well as their forebears. However, collector interest and values for these cars remain high. The Eldorado Brougham was moved to its own unique Series 6900 for its remaining two years.
The 1960 Cadillac Eldorado Biarritz 6467E is featured as Maurice Minnifield's vehicle in the 1990s television series Northern Exposure.
FOURTH GENERATION (1961–1964)
Cadillac was restyled and re-engineered for 1961. The Eldorado Biarritz convertible was technically reclassified as a subseries of the De Ville (Series 6300), a status it would keep through 1964. An Eldorado convertible would remain in the Cadillac line through 1966, but its differences from the rest of the line would be generally more modest. The new grille slanted back towards both the bumper and the hood lip, along the horizontal plan, and sat between dual headlamps. New forward slanting front pillars with non-wraparound windshield glass were seen. The Eldorado Biarritz featured front series designation scripts and a lower body "skeg" trimmed with a thin three quarter length spear molding running from behind the front wheel opening to the rear of the car. Standard equipment included power brakes, power steering, automatic transmission, dual back up lights, windshield washer, dual speed wipers, wheel discs, plain fender skirts, outside rearview mirror, vanity mirror, oil filter, power windows, 6-way power bench seat or bucket seats, power vent windows, whitewall tires, and remote control trunk lock. Rubberized front and rear coil springs replaced the trouble prone air suspension system. Four-barrel induction systems were now the sole power choice and dual exhaust were no longer available. With the Seville and Brougham gone sales fell to 1,450.
A mild face lift characterized Cadillac styling trends for 1962. A flatter grille with a thicker horizontal center bar and more delicate cross-hatched insert appeared. Ribbed chrome trim panel, seen ahead of the front wheel housings in 1961, were now replaced with cornering lamps and front fender model and series identification badges were eliminated. More massive front bumper end pieces appeared and housed rectangular parking lamps. At the rear tail lamps were now housed in vertical nacelles designed with an angled peak at the center. A vertically ribbed rear beauty panel appeared on the deck lid latch panel. Cadillac script also appeared on the lower left side of the radiator grille. Standard equipment included all of last year’s equipment plus remote controlled outside rearview mirror, heater and defroster and front cornering lamps. Cadillac refined the ride and quietness, with more insulation in the floor and behind the firewall.
In 1963 Eldorado Biarritz joined the Cadillac Sixty Special and the Cadillac Series 75 as the only Cadillac models with Fleetwood bodies and immediately acquired Fleetwood crests on its rear quarters[26] and Fleetwood rocker panel moldings. The 1963 Eldorado was also the first Fleetwood bodied convertible since the Cadillac Series 75 stopped offering four- and two-door convertible body styles and production of the Cadillac Series 90 (V16) ceased in 1941. In overall terms the 1963 Cadillac was essentially the same as the previous year. Exterior changes imparted a bolder and longer look. Hoods and deck lids were redesigned. The front fenders projected 4.625 inches further forward than in 1962 while the tailfins were trimmed down somewhat to provide a lower profile. Body side sculpturing was entirely eliminated. The slightly V-shaped radiator grille was taller and now incorporated outer extensions that swept below the flush-fender dual headlamps. Smaller circular front parking lamps were mounted in those extensions. The Eldorado also had a rectangular grid pattern rear decorative grille. A total of 143 options including bucket seats with wool, leather or nylon upholstery fabrics and wood veneer facings on dash, doors and seatbacks, set an all-time record for interior appointment choices. Standard equipment was the same as the previous year. The engine was entirely changed, though the displacement and output remained the same, 6.4 l and 325 hp (242 kW).
It was time for another facelift in 1964 and really a minor one. The main visual cue indicating an Eldorado Biarritz was simply the lack of fender skirts. New up front was a bi-angular grille that formed a V-shape along both its vertical and horizontal planes. The main horizontal grille bar was now carried around the body sides. Outer grille extension panels again housed the parking and cornering lamps. It was the 17th consecutive year for the Cadillac tailfins with a new fine-blade design carrying on the tradition. Performance improvements including a larger V8 engine were the dominant changes for the model run. Equipment features were same as in 1963 for the most part. Comfort Control, a completely automatic heating and air conditioning system controlled by a dial thermostat on the instrument panel, was introduced as an industry first. The engine was bumped to 7 l, with 340 hp (253.5 kW) available. Performance gains from the new engine showed best in the lower range, at 30 to 80 km/h traffic driving speeds. A new technical feature was the Turbo-Hydramatic transmission, also used in the De Ville and the Sixty Special.
FITH GENERATION (1965–1966)
The Eldorado became a Fleetwood sub-series in 1965, although there was strictly speaking no separate Fleetwood series at this time. It was consequently marketed as the Cadillac Fleetwood Eldorado, in a similar fashion to the Cadillac Fleetwood Series 75 and the Cadillac Fleetwood Sixty Special. The Biarritz nomenclature was finally dropped from sales literature, probably because there was no need to distinguish the convertible from the long absent Seville and Brougham. This was the last generation to be installed with rear wheel drive.
In 1966 changes included a somewhat coarser mesh for the radiator grille insert, which was now divided by a thick, bright metal horizontal center bar housing rectangular parking lamps at the outer ends. Separate rectangular side marker lamps replaced the integral grille extension designs. There was generally less chrome on all Cadillac models this year. Cadillac crests and V-shaped moldings, front and rear, were identifiers. Cadillac "firsts" this season included variable ratio steering and optional front seats with carbon cloth heating pads built into the cushions and seatbacks. Comfort and convenience innovations were headrests, reclining seats and an AM/FM stereo system. Automatic level control was available. Engineering improvements made to the perimeter frame increased ride and handling ease. Newly designed piston and oil rings and a new engine mounting system and patented quiet exhaust were used.
SIXTH GENERATION (1967–1970)
The Eldorado was radically redesigned in 1967 to capitalize on the burgeoning era's personal luxury car market. Promoted as a "personal" Cadillac, it shared the E-body with the second-generation Buick Riviera and the Oldsmobile Toronado, which had been introduced the previous year. To enhance its distinctiveness, Cadillac adopted the Toronado's front-wheel drive Unified Powerplant Package, adapted to a standard Cadillac 429 V8 coupled to a Turbo-Hydramatic 425 automatic transmission. Based on the Turbo-Hydramatic 400, the THM425 placed the torque converter next to the planetary gearbox, which it drove through a metal, motorcycle-style roller chain. Disc brakes were optional, and new standard safety equipment included an energy absorbing steering column and generously padded instrument panel. The Unified Powerplant Package was later shared with the GMC Motorhome starting in 1972.
The new Eldorado was a great departure from the previous generation, which had become little more than a dressed-up version of Cadillac's De Ville. Its crisp styling, initiated by GM styling chief Bill Mitchell, was distinctive and unique, more angular than the streamlined Riviera and Toronado. This was the only production Cadillac to be equipped with concealed headlights behind vacuum operated doors.
Performance was 0–60 mph (0–96 km/h) in less than nine seconds and a top speed of 120 mph (192 km/h). Roadability and handling were highly praised by contemporary reviews, and sales were excellent despite high list prices. Its sales of 17,930 units, nearly three times the previous Eldorado high, helped give Cadillac its best year ever.
In 1968, the Eldorado received Cadillac's new 375 hp (280 kW) (SAE gross) 7.7 L V8, and disc brakes became standard. Only slight exterior changes were made to comply with new federal safety legislation. Sales set another record at 24,528, with Eldorados accounting for nearly 11% of all Cadillacs sold.
In 1969 hidden headlamps were eliminated, and a halo vinyl roof was available as an option, joined later in the model year by a power sunroof.
In 1970 the Eldorado introduced the new 8.2 L V8 engine, the largest-ever production V8, rated SAE gross 400 hp (298 kW) and 550 lb·ft (746 N·m), which would remain exclusive until it became standard on all full size Cadillacs in the 1975 model year.
SEVENTH GENERATION (1971–1978)
The Eldorado underwent a substantial redesign in 1971, growing two inches in length but six in wheelbase. The result was a rounder, much heavier looking automobile, made even more rotund by the return of standard fender skirts. While Eldorado door glass remained frameless, the hardtop rear quarter windows were deleted, replaced by a fixed "opera window" in the widened "C" pillar. A convertible model rejoined the line-up. This 126.3-inch (3,210 mm) wheelbase version Eldorado would run through 1978, receiving facelifts in 1973 and 1975. Sales in 1971 set a new record at 27,368.
In 1972 sales rose to 40,074.
Performance was not competitive with contemporary premium personal luxury cars. However, none but the Lincoln were 6 passenger vehicles.
In 1973 the Eldorado was removed from the Fleetwood series and reestablished as its own series. The '73 models received a facelift featuring new front and rear bumpers, egg-crate grille, decklid, rear fenders and taillamps.
The Cadillac Eldorado was chosen as the pace car for the Indy 500 in 1973. Cadillac produced 566 of these special pace car convertibles. Thirty-three were used at the track during the race week, with the remainder distributed to U.S. Cadillac dealers one per dealership. Total sales soared to 51,451, over a sixth of all Cadillac sales.
1974 models featured a redesigned rear bumper, to meet the new 5 mile impact federal design regulation. Styling changes include horizontal taillamps, and a fine mesh grille. Inside, there was a new, redesigned instrument panel, marketed in sales literature as "space age" and shared with all 1974 Cadillacs.
For 1975, the Eldorado was given rectangular headlamps, full rear wheel openings sans fender skirts and crisper lines which resulted in a much sleeker appearance reminiscent of the 1967-70 models.
In 1976 GM heavily promoted the Eldorado convertibles as "the last American convertible". Some 14,000 would be sold, many purchased as investments. The final 200 were designated as "Bicentennial Edition" commemorating America's 200th birthday. These cars were white with a dual-color red/blue pinstripe along the upper bodyside. When GM reintroduced Eldorado convertibles for the 1984 model year, owners of 1976 Eldorados felt they had been deceived and launched an unsuccessful class action lawsuit.
In 1977 the Eldorado received a new grille with a finer crosshatch pattern. The convertible was dropped (although Custom Coach of Lima, Ohio converted a few new 1977 and 1978s Eldorados into coach convertibles using salvaged parts from earlier models). The 8.2L V8 of 1970-76 gave way to a new 7L V8 with 180 bhp (134 kW). For the first time in 1977 all GM E-body cars were front-wheel drive, as the Riviera underwent a two-year hiatus before joining them in 1979.
A new grille was the only major change in 1978. The Eldorado was totally redisigned for 1979.
ELDORADO BIARRITZ
Unlike the Cadillac Sixty Special and De Ville, Eldorado did not have a unique luxury package to provide it with a title change (such as the "d'Elegance" package). This was rectified in mid-year 1976 with the Biarritz package. A unique trim feature of Biarritz, a name that had not been used since the 1964 model year (although the Eldorado was Fleetwood bodied from the 1963 model year on, the Fleetwood designation was only applied to all Eldorados produced from the 1965 through 1972 model years) was a brushed stainless steel roof covering the front passenger compartment for model years 1979-1985. This was a styling cue reminiscent of the 1957/58 Eldorado Brougham. The rear half of the roof was covered with a heavily padded landau vinyl top accented with large "opera" lights. The interior featured "pillowed"-style, "tufted" velour or leather seating, with contrasting piping, along with an array of other options available.
The 1978 Biarritz option packages consisted of the Eldorado Custom Biarritz ($1,865.00); w/Astroroof ($2,946.00); w/Sunroof ($2,746.00) and Eldorado Custom Biarritz Classic ($2,466.00); w/Astroroof ($3,547.00); w/Sunroof ($3,347.00).
For the 1978 Eldorado model year only, 2,000 Eldorado Custom Biarritz Classics were produced in Two-Tone Arizona Beige/Demitasse Brown consisting of 1,499 with no Astroroofs or no Sunroofs; 475 with Astroroofs; 25 with Sunroofs and one (1) was produced with a Power Sliding T-Top. Only nine of the latter are known to have been retrofitted by the American Sunroof Company under the direction of General Motors' Cadillac Motor Division.
The Biarritz option stayed with the Eldorado through the 1991 model year. Some of the original styling cues vanished after the 1985 model year, such as the brushed stainless steel roofing and the interior seating designs, but the Biarritz remained unique just the same.
EIGHTH GENERATION (1979–1985)
A new, trimmer Eldorado was introduced for 1979, for the first time sharing its chassis with both the Buick Riviera and Oldsmobile Toronado. Smaller, more fuel efficient 350 and 368 in³ (5.7 and 6.0 L) V8's replaced the 500 and 425 in³ (8.2 and 7.0 L) engines. A diesel 350 was available as an option.
In 1980, the gas 350 was replaced with the 368 except in California, where the Oldsmobile 350 was used. In both the 1980 Seville and Eldorado (which shared frames) the 368s came with DEFI (later known as throttle body injection when it was later used with other GM corporate engines), whereas in the larger RWD Cadillacs it came only with a 4-barrel Quadrajet carburetor. Independent rear suspension was adopted, helping retain rear-seat and trunk room in the smaller body. The most notable styling touch was an extreme notchback roofline. The Eldorado Biarritz model resurrected the stainless-steel roof concept from the first Brougham. The Eldorado featured frameless door glass, and the rear quarter windows re-appeared as they did before 1971, without a thick "B" pillar. The cars were not true hardtops, as the rear quarter windows were fixed. Sales set a new record at 67,436.[citation needed]
For 1981, Cadillac offered the V8-6-4 variable displacement variant of the 368 engine, which was designed to deactivate some cylinders when full power was not needed, helping meet GM's government fuel economy ("CAFE") averages. It was a reduced bore version of the 1968 model-year 472, sharing that engine's stroke and also that of the model-year 1977–1979 425. The engine itself was extremely rugged and durable, but its complex electronics were the source of customer complaints.
Another engine was introduced for 1982. The 4.1 L HT-4100 was an in-house design that mated cast-iron heads to an aluminum block. Some HT-4100s were replaced under warranty.
From 1982 through 1985, Cadillac offered an 'Eldorado Touring Coupe', with heavier duty suspension, alloy wheels, blackwall tires, minimal exterior ornamentation and limited paint colors. These were marketed as 'driver's cars' and included bucket seats and a center console.
In 1984, Cadillac also introduced a convertible version of Eldorado Biarritz. It was 91 kg heavier featuring the same interior as other Biarritz versions. The model year of 1985 was the last year for the ASC, Inc., aftermarket conversion Eldorado convertible. Total sales set an all-time record of 77,806, accounting for about 26% of all Cadillacs sold.
Prior to the 'official' 1984 and 1985 Eldorado convertibles marketed by Cadillac, some 1979-83 Eldorados were made into coach convertibles by independent coachbuilders e.g. American Sunroof Corporation, Custom Coach (Lima, Ohio - this coachbuilder turned a few 1977 and 1978 Eldorados into convertibles), Hess & Eisenhardt. The same coachbuilders also converted the Oldsmobile Toronado and Buick Riviera into a ragtop.
Late in the 1985 model year, an optional 'Commemorative Edition' package was announced, in honor of the last year of production for this version of the Eldorado. Exclusive features included gold-tone script and tail-lamp emblems, specific sail panel badges, gold-background wheel center caps, and a "Commemorative Edition" badge on the steering wheel horn pad. Leather upholstery (available in Dark Blue or White, or a two-tone with Dark Blue and White) was included in the package, along with a Dark Blue dashboard and carpeting. Exterior colors were Cotillion White or Commodore Blue.
NINTH GENERATION (1986–1991)
The Eldorado was downsized again in 1986. In a fairly extreme makeover it lost about 16" in length and some 350 pounds in weight. Just like in previous generations, the Eldorado shared its chassis with the Oldsmobile Toronado and Buick Riviera, as well as Eldorado's four-door companion, the Cadillac Seville. However, the coupés from Buick and Oldsmobile both utilized Buick's 3.8 liter V6 engine, while Cadillac continued to use their exclusive 4.1 liter V8. The convertible bodystyle was ceded to the Cadillac Allanté roadster.
The $24,251 Eldorado was now the same size that GM's own compact cars had been only a few years earlier, and considerably smaller than Lincoln's competing Mark VII, and no similar offering from Chrysler as the Imperial coupe was discontinued in 1983. Its styling seemed uninspired and stubby, and in a final unfortunate flourish, for the first time the Eldorado abandoned its "hardtop" heritage and featured framed door glass. News reports later indicated that GM had been led astray by a consultant's prediction that gasoline would be at $3 per gallon in the U.S. by 1986, and that smaller luxury cars would be in demand. In fact, gasoline prices were less than half that. With a sales drop of 60%, seldom has any model experienced a more precipitous fall. Production was only about a fifth of what it had been just two years earlier.
Aside from a longer, 5 year/50,000 mile warranty, Eldorado received very few changes for 1987. A price drop, to $23,740, did not raise sales any, as only 17,775 were made this year (21,342 for 1986). The standard suspension, with new taller 75 series (previously 70) tires and hydro-elastic engine mounts, was slightly retuned for a softer ride, while the optional ($155) Touring Suspension, with deflected-disc strut valves and 15" alloy wheels, remained for those desiring a firmer ride. As part of a federal requirement to discourage "chop-shop" thieves, major body panels were etched with the VIN. Also new, a combination cashmere cloth with leather upholstery, and locking inertia seat belt reels for rear seat passengers, which allowed for child-seat installation in the outboard seating positions in back. The formal cabriolet roof was added this year. Available for $495 on the base Eldorado, it featured a padded covering over the rear half of the roof, and turned the rear side glass into smaller opera windows. One of Eldorado's most expensive singluar options was the Motorola cellular telephone mounted inside the locking center arm rest. Priced at $2,850, it had been reworked this year for easier operation, and featured a hidden microphone mounted between the sun visors for hands-free operation. Additionally, the telephone featured a clever radio mute control: activated when the telephone and radio were in use at the same time, it automatically decreased the rear speaker's audio volume, and over-rode the front music speakers to be used for the hands-free telephone. On an interesting note, the square marker lamp, located on the bumper extension molding just behind the rear wheel well on 1986 and '87 Eldorado models, would suddenly re-appear on the 1990 & '91 Seville (base models only) and Eldorado Touring Coupé.
1988 was met with an extensive restyle, and sales nearly doubled from the previous year, up to 33,210. While the wheelbase, doors, roof, and glass remained relatively unchanged, new body panels gave the 1988 model a more identifiable "Eldorado" appearance. Now available in just 17 exterior colors (previously 19), the new Eldorado was 3" longer than last year. Underneath the restyled hood was Cadillac's new 155 horsepower 4.5 liter V8. A comprehensive anti-lock braking system, developed by Teves, was newly available. Longer front fenders held "bladed" tips, and a new grille above the revamped front bumper. In back, new three-sided tail lamps - reminiscent of the 1987 Deville - appeared along with a new bumper and trunk lid. Bladed 14" aluminum wheels remained standard, while an optional 15" snowflake-pattern alloy wheel was included with the Touring Suspension option. The interior held wider front seat headrests and swing-away door pull handles (replacing the former door pull straps). New upholstery patterns, along with shoulder belts for outboard rear-seat passengers, appeared for both base and Biarritz models, with the latter bringing back the tufted-button design - last seen in the 1985 Eldorado Biarritz. A new vinyl roof option, covering the full roof top, featured a band of body color above the side door and windows - similar to the style used until 1978. This replaced the "cabriolet roof" option, which covered the rear half of the roof, introduced just a year earlier. With the Biarritz option package, the padded vinyl roof covered just the rear quarter of the roof top, behind the rear side windows. Biarritz also included slender vertical opera lamps, as in 1986 and '87, but now added a spear molding (similar to the style used on the 1976 - 1985 Eldorado Biarritz) that ran from the base of the roof top, continuing horizontally along the door, and down to the front fender tip. The standard power antenna was moved from the front passenger fender to the rear passenger fender. Pricing went up this year - to $24,891. This 1988 restyle would be the last, until the model was replaced by an all-new Eldorado for 1992.
TENTH GENERATION (1992–2002)
The 1992 Eldorado was all new, drawing both interior and exterior styling cues from the 1988 Cadillac Solitaire show car. It was significantly larger than its predecessor – approximately 11" longer, 3" wider, and substantially heavier. Window glass was once again frameless, and shortly after introduction Cadillac's new Northstar V8 became available in both 270 and 295 hp (220 kW) variants, replacing the 200 hp (150 kW) 4.9 L. Sales were up, though never again at record heights.
The Eldorado continued for the rest of the decade with incremental changes and tapering sales. A passenger side airbag was added as standard equipment in 1993. Styling was freshened in 1995, with updated bumpers front and rear, side cladding, and a new grille. In 1996, the interior received attention, with a new upholstery style, larger analog gauge cluster, relocated climate control system, updated stereo faces and standard daytime running lights. The ETC receives rain-sensing wipers called "Rainsense."
In 1997, the Integrated Chassis Control System was added. It involved microprocessor integration of engine, traction control, Stabilitrak electronic stability control, steering, and adaptive continuously variable road sensing suspension CVRSS, with the intent of improving responsiveness to driver input, performance, and overall safety. Similar to Toyota/Lexus Vehicle Dynamics Integrated Management VDIM.
In the wake of declining sales, circulating reports that the Eldorado would get a redesign for 1999 — similar to that which the Seville underwent for 1998 — would prove false as the car soldiered on largely unchanged into the new millennium, although it did get some upgrades from the 1999 Seville.
The car was sold under Cadillac ETC (Eldorado Touring Coupe) and ESC (Eldorado Sport Coupe) trim.
In 2001 GM announced that the Eldorado's 50th model year (2002) would be its last. To mark the end of the nameplate, a limited production run of 1,596 cars in red or white - the colors available on the original 1953 convertible - were produced in three batches of 532, signifying the Eldorado's first year of production. These last cars featured specially tuned exhaust notes imitating their forerunners from a half-century earlier, and a dash-mounted plaque indicating each car's sequence in production.
Production ended on April 22, 2002, with the Lansing Craft Centre retooled to build the Chevrolet SSR.
WIKIPEDIA
I offered to take a few photos of the university library for some of our publicity. Most of the photos we have are quite old, and pre-date an extensive refurbishment that took place around 9 months ago. This was one of the photos. I have no idea whether they will get used but I'm pleased with how some of them came out.
All images available for licensing via me. I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database with thousands of hand-picked images of dogs, cats, as well as horses, I might already have what you are looking for. All pictures here can be licensed.
For licensing and commission requests: info{at}elkevogelsang.com -
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want some? here's my offer - send me some money in the mail (if you trust me) & i'll send you as many 5x7's & 8x10's as you want (if i trust you).
what the hell would you do with copies of my grotesque photos?
well, they're pretty flamable, so you could ball them up & get a fire started with them.
or you could take them to a psychiatrist & find a diagnosis or two for me.
or you could even tape them to the walls of public bathrooms in the hopes that men might smear their sperm all over my tiny paper face.
those are just a few of the many possibilities, my friends. sky's the limit.
matte on regular paper. $3.00 for 5x7, $6.00 for 8x10. don't worry, they look nice. i promise.
message me about it, yo.
Ok, I know I've offered something of a Seddon sufficiency lately, but hopefully this will be the last one for some time. The original B&W was another of those splendid offerings from the former trade magazine, 'Bus & Coach' which I'd bought with a view to colourising. However, in view of the general detritis present, I feel sure that with a little imagination the photographer could have found a better location for it!
RAA 21G was one of a second delivery of six Pennine IVs in March 1969, for Hoeford based Gosport & Fareham Omnibus who traded as Provincial. The operator was seeking to cost effectively modernise its remarkably fascinating but antiquated fleet in the late '60s and Seddon appeared to have a solution at the time. This batch had bodies by Seddon's in house coachbuilder Pennine Coachcraft. The first slightly larger delivery had bodies built more locally to the operator by Strachans of Hamble. Both types were dual entrance, seated 40 passengers and were powered by the small Perkins 6.354 engine . . . which may or may not have been turbocharged in these buses(?) What is noticeable here is the narrow track of the axles used by Seddon, a bonus if you're building a bus of restricted width, but surely would have added to body roll on a laden standard vehicle.
LCROSS and LRO are heading back to the moon, but this picture offers some nice historical perspective.
Date of original image: July 16, 1969
"Carrying astronauts Neil A. Armstrong and Edwin E. Aldrin, Jr., the Lunar Module (LM) "Eagle" was the first crewed vehicle to land on the Moon. The LM landed on the moon's surface on July 20, 1969 in the region known as Mare Tranquilitatis (the Sea of Tranquility). The LM is shown here making its descent to the lunar surface, while Astronaut Collins piloted the Command Module in a parking orbit around the Moon. The Apollo 11 mission launched from The Kennedy Space Center, Florida aboard a Saturn V launch vehicle on July 16, 1969 and safely returned to Earth on July 24, 1969. The 3-man crew aboard the flight consisted of Neil A. Armstrong, commander; Michael Collins, Command Module pilot; and Edwin E. Aldrin Jr., Lunar Module pilot. Armstrong was the first human to ever stand on the lunar surface. As he stepped off the LM, Armstrong proclaimed, "That's one small step for man, one giant leap for mankind". He was followed by Edwin (Buzz) Aldrin, describing the lunar surface as Magnificent desolation. The crew collected 47 pounds of lunar surface material which was returned to Earth for analysis. The surface exploration was concluded in 2½ hours. With the success of Apollo 11, the national objective to land men on the Moon and return them safely to Earth had been accomplished. The Saturn V vehicle was developed by the Marshall Space Flight Center (MSFC) under the direction of Dr. von Braun."
Image credit: NASA
There are plenty of amazing photos on NASA's Image Exchange site:
Learn more about the Lunar Reconnaissance Orbiter (LRO) :
www.nasa.gov/mission_pages/LRO/main/index.html
Learn more about the Lunar Reconnaissance Orbiter and Lunar Crater Observation and Sensing Satellite (LCROSS):
www.nasa.gov/mission_pages/LCROSS/main/index.html
Follow the "New Moon Missions" blog from NASA:
Zion offers the red rock but not too much red and not only red. It is nice that the Zion Valley has so much greenery to both supplement and contrast the peaks around. And the Virgin River flowing through also nicely adds to a not so dry desert feel like some other places in Utah or Arizona
This Mountain of the Sun over the Virgin River is not the classic Watchman capture but for me this one worked better - maybe it is the light or maybe I saw the Watchman too many times elsewhere.
Copyright © 2009 Daniel Novak Photo, Buffalo Landscapes & Cityscapes | Blog | Google+
Ladies and gentlemen of the class of '99
"Wear sunscreen"
If I could offer you only one tip for the future, "sunscreen" would be it.
The long-term benefits of sunscreen have been proved by scientists, whereas the rest of my advice has no basis more reliable than my own meandering experience.
I will dispense this advice NOW!
Enjoy the power and beauty of your youth.
Oh, never mind.
You will not understand the power and beauty of your youth until they've faded.
But trust me, in 20 years, you'll look back at photos of yourself and recall in a way you can't grasp now how much possibility lay before you and how fabulous you really looked.
You are not as fat as you imagine.
Don't worry about the future.
Or worry, but know that worrying is as effective as trying to solve an algebra equation by chewing bubble gum.
The real troubles in your life are apt to be things that never crossed your worried mind, the kind that blindside you at 4 pm on some idle Tuesday.
Do one thing every day that scares you.
Sing
Don't be reckless with other people's hearts.
Don't put up with people who are reckless with yours.
Floss
Don't waste your time on jealousy.
Sometimes you're ahead, sometimes you're behind.
The race is long and, in the end, it's only with yourself.
Remember compliments you receive.
Forget the insults.
If you succeed in doing this, tell me how.
Keep your old love letters.
Throw away your old bank statements.
Stretch
Don't feel guilty if you don't know what you want to do with your life.
The most interesting people I know didn't know at 22 what they wanted to do with their lives.
Some of the most interesting 40-year-olds I know still don't.
Get plenty of calcium.
Be kind to your knees.
You'll miss them when they're gone.
Maybe you'll marry, maybe you won't.
Maybe you'll have children, maybe you won't.
Maybe you'll divorce at 40.
Maybe you'll dance the funky chicken on your 75th wedding anniversary.
Whatever you do, don't congratulate yourself too much, or berate yourself either.
Your choices are half chance.
So are everybody else's.
Enjoy your body.
Use it every way you can.
Don't be afraid of it or of what other people think of it.
It's the greatest instrument you'll ever own.
Dance
Even if you have nowhere to do it but your living room.
Read the directions, even if you don't follow them.
Do not read beauty magazines.
They will only make you feel ugly.
"Brother and sister together we'll make it through,
Someday a spirit will take you and guide you there
I know that you're hurting but I've been waiting there for you
and I'll be there just helping you out
whenever I can..."
Get to know your parents.
You never know when they'll be gone for good.
Be nice to your siblings.
They're your best link to your past and the people most likely to stick with you in the future.
Understand that friends come and go,
but with a precious few you should hold on.
Work hard to bridge the gaps in geography and lifestyle, because the older you get,
the more you need the people who knew you when you were young.
Live in "New York City" once, but leave before it makes you hard.
Live in "Northern California" once, but leave before it makes you soft.
Travel
Accept certain inalienable truths:
Prices will rise.
Politicians will philander.
You, too, will get old.
And when you do, you'll fantasize that when you were young, prices were reasonable, politicians were noble, and children respected their elders.
Respect your elders.
Don't expect anyone else to support you.
Maybe you have a trust fund.
Maybe you'll have a wealthy spouse.
But you never know when either one might run out.
Don't mess too much with your hair or by the time you're 40 it will look 85.
Be careful whose advice you buy, but be patient with those who supply it.
Advice is a form of nostalgia.
Dispensing it is a way of fishing the past from the disposal, wiping it off, painting over the ugly parts and recycling it for more than it's worth.
But trust me on the sunscreen.
"Brother and sister together we'll make it through,
Someday a spirit will take you and guide you there
I know that you're hurting but I've been waiting there for you
and I'll be there just helping you out
whenever I can..."
Everybody's Free, Everybody's Free To Feel Good!
Mffood offers you the most delightful and the tastiest masala paste and pickles. Get it from our MF,One of the famous masala paste manufacturing company.
White Rock, BC Canada
The White Rock Promenade and Pier offers over two and a half kilometres of trial along the shoreline of this beautiful small town stretching from end to end. Here, visitors can walk alongside historic buildings, train tracks, inviting beaches and shallow ocean waters or grab a drink or snack from the nearby shops and restaurants.
Popular throughout the year and especially in the summer months with the regions booming tourism industry, White Rock's Promenade and Pier are the perfect destination for a day of fun in the sun.
Stretching two and a half kilometres across the waterfront of this small town, the White Rock Promenade and its adjoining 1,500 foot pier which is built into Semiahmoo Bay are the areas most popular attractions. Starting from the east near the crossroads of Finlay Street and Marine Drive the Promenade moves westwards alongside notable landmarks and locales such as the White Rock (for which the town is named for) and the Museum and Archives in the old train station and culminates at Bay Street and Marine Drive.
A year round destination, the Promenade and Pier allow visitors and locals to experience White Rock and its surroundings. In the summer months visitors to the area can enjoy beautiful views, balmy weather, swimming and playing on the beaches below the promenade and fishing off the pier. Summer also brings the White Rock Sandcastle Competition where amazing sculptures are built along the shores which visitors can enjoy and walk through with a self-guided tour.
Above the promenade and pier, along Marine Drive, dozens of restaurants and shops are open for exploration offering a wide range of goods and services - here, visitors can grab an ice cream cone or fish and chips and eat them on the nearby beach or continue their leisurely stroll along the trail. The train tracks are still operational and every so often trains come through this seaside town - be sure to look both ways before crossing the tracks when walking to the promenade.
The White Rock Pier and Promenade offer many activities, attractions and historic buildings and areas to enjoy. It is well worth the trip to enjoy a day or a few hours on the shores of this beautiful town on the edge of British Columbia
This image is best viewed in Large screen.
Thank-you for your visit, and any faves or comments are always sincerely appreciated.
Sonja
They offered to get in this pose for me.
As this was an unusually angled photo and had the potential to show more than she might have been willing to show, I go her "a-okay" once I took the photo and showed it to her.
There are some "people" out there who take great delight in taking then posting embarrassing photos (upskirt, wardrobe malfunctions, and so on); I am not one of them. It's just my modus operandi and how I roll as a photographer.
Welcome to my CrEaTiVe Space!
HOW IT WAS BUILT
A few years ago my husband offered to build me an art studio for my birthday. What a great gift! Little did I know at the time that I would be hammering with him side by side, getting splinters and into frustrating arguments (and we’re suppose to build a home together someday!). Anyhow, the spot we chose was an old concrete slab that existed as a foundation for a pig pen some years prior. It was amongst the bamboo forest behind our house so, the first project was to clear some land. The materials came from an old garage which we tore down in exchange for all the wood and old windows. The older Japanese man whose garage this was said that it had been there for some 80 years and that it could have also been built from reclaimed wood. We began to build…First the heavy, wood plank floors went in followed by the framing, walls, and roof which was reclaimed also from a roofing job up the street. The used windows still have the old hand blown glass which has that wavy look to it with bubbles in it. At this pint the structure looked dark and dingy, thus began the task of cheering it up!
TAKE THE TOUR
My studio is located above a creek which only flows during heavy rains. When it does I just love the sound of easy flowing water. Half of it lies under a gigantic avocado tree which drops melon size fruits like bombs onto my tin roof. Then of course there are the four swaying palm trees where the inspiration came for the name Palm Tree Princess.
It’s just a short walk from the house where you would find yourself on my cement threshold which has been inlaid with sea glass to read “E Komo Mai” (welcome in Hawiian). Along the way you may have spotted a hidden fairy or gnome hiding in the jungle. Open the (old closet) door (which has an old porcelain knob and skeleton keyhole lock) and you step inside of my oasis. It’s a place where no one has a say but me. For it is completely and totally my realm. It is a place where the monogram of my name and my name only can adorn the walls (with a crown on top!). You get the picture. Look to the right and you will see an old reclaimed bedside table which I have done a mosaic on from tiles I found that had washed ashore on an Italian coastline. Resting in this space is my self titled booked “Desiree” (because everyone should have some great historic novel with their name on it!). On this side of the studio is my day bed. Perfect for reading, contemplating, daydreaming, or just staring out the window which looks into our dense bamboo forest. It is also a great spot for a guest to spend the night (don’t look under the bed because I use it for storage). There are two bookshelves hovering over each side of the bed (which has too many pillows on it). One shelf is completely and only for my collection of fairy books. The other shelf has a mix of art and mermaid books. Which by the way I adore Mucha, Waterhouse, Maxfield Parrish, and Tadema to name a few. Next to the bed is another reclaimed piece of furniture, an old wooden pantry that I painted and now houses wooden bird house, my journal collection, miniatures, and more. The top of it is adorned with glass apothecary jars holding my seashell and sea glass collections (labeled by color, I am such a geek!). The other half of my studio consists of my main countertop workspace, my funky writing desk and chair, my grandmothers old Singer sewing machine and table, and a cool piece I picked up recently which swivels on wheels. One half of it is a desk and the other has drawers and shelves. Storage is key in a small workspace and so is designated spaces for each specific project. And, things on wheels are cool too. Hanging from my ceiling are an ever growing collection of paper lanterns in all colors and sizes. Some light up for a vivid nighttime atmosphere. I have a section on my wall with my fancy papers draped on rods like you would see them displayed in a paper store. Then there is also my ribbon collection which are on two rods as well above the window. I have also another reclaimed wooden cabinet which is home to odds and ends. Everything has a spot and most everything is labeled. That in a nutshell ladies and gentlemen is my studio. It truly is a dream come true.
At any given time my studio is a mess with projects! From painted onesies piling high for wholesale orders to some sewing job still laying out needing to be finished, something with paint on it drying over here and a tutu in the process over there, my space always is alive with creative jobs.
With Etsy being such a glorious place for so many artists, it would be such a great thing to see other creative work spaces. There should be some area to showcase this. I thought I’d make mine a listing to share with others. Maybe I can encourage others to do the same and open up their spaces of art for others to see. Whether it’s a nook in a kitchen or a separate barn turned into a dream studio, every artist deserves their own realm no matter how big or small to call their own and let their imagination and ideas soar.
THANKS FOR LOOKING!
Last week, two of my friends offered to take me on a tour of the jewels of Norfolk churches. Despite having lived in either north Suffolk or Norfolk most of my life, back in those days I had no idea about churches, nor half the villages where these jewels can be found, even existed.
First on the list was Salle.
It was a grim, wet and misty morning when Sarah and Richard picked me up at the Catholic Cathedral, and so we made our way against the rush hour traffic whilst Richard tried to keep the windscreen clear as my clothes dried out causing a slight fog in the car.
Ss Peter and Paul seems to be in the middle of nowhere, with just two other buildings keeping it company. Salle was clearly a rich parish back in the day, as it is a huge church, serving the village and the large country house, lost to view behind trees nearby.
It is a church that has something for everyone: font and cover, support arm for font cover, good glass, fine memorials, two hidden chapels, painted screens and carved bosses. And so much more beside.
Here is what my friend Simon has to say. He likes it too.
---------------------------------------------------
During their awesome reign over the other great teams of Europe in the 1970s and 1980s, Liverpool football club placed a huge sign in the changing room corridor, so that it was the last thing visiting teams saw before they walked out on to the pitch: This is ANFIELD, it warned. The name alone was enough to impress. Similarly, the cover of the guidebook here proclaims, in a single word, SALLE. Again, it suffices; the word, pronounced to rhyme with call, stands for the building. Perhaps only the name Blythburgh has the same power in all East Anglia.
St Peter and St Paul is big. This is accentuated by the way in which it stands almost alone in the barley fields, with only a couple of Victorian buildings and a cricket pitch for company. What an idyllic spot! And yet there is an urban quality to the building, as if this was some great city church in the middle of Norwich or Bristol. It went up in the course of the 15th century, a replacement for an earlier building on the same site, broadly contemporary with neighbouring Cawston. While Cawston was largely the work of a single family, here the building benefited from an accident of history; several very wealthy families owned manors and halls in the parish at the same time, and it so happened that the time was the greatest era of rural church building.
Among them were the Boleyns, the Brewes, the Mautebys, the Briggs, the Morleys, the Luces and the Kerdistons, and some of their shields appear above the great west door, along with two mighty censing angels, characteristic of late medieval piety. A steady stream of hefty bequests meant that no expense needed to be spared, and the mighty tower with its vast bell openings was topped with battlements and pinnacles on the very eve of the Reformation.
As at Blythburgh, St Peter and St Paul benefited from the restraint of a late restoration, and the building as we see it now has no external Victorian additions. It is all of a piece. The porches either side are huge affairs, matching the transepts, and give the effect of a vast animal, a dragon perhaps, sprawling with erect head in the Norfolk countryside. Its tail is the chancel, in itself longer and higher than many Norfolk churches. The aisles are tall, austere, parapeted, the Perpendicular windows arcades of glass. In the porches, the vaulted ceilings are studded with bosses; the central one in the north porch depicts Christ in Majesty, sitting on a rainbow in judgement.
You enter the building from the west, an unusual experience in East Anglia, and your first sight is of the seven sacraments font with its tall 15th century canopy, similar to the cover at Cawston. This one is so big it is supported by a crane attached to the ringing gallery under the tower.
The font below is interesting because each panel is supported by an angel holding a symbol of the sacrament above - a pot of chrism oil beneath Baptism, for example. The panels themselves are simply done, and are not particularly characterful, apart from the way that Mary turns away and is comforted at the Crucifixion. This panel faces west, and then anticlockwise are the Mass (viewed sideways, as at nearby Great Witchingham), Ordination (the candidate kneeling), Baptism (a server holds the book up for the Priest to read), Confirmation (the candidate obviously a child), Penance (perhaps the most interesting panel - the penitent kneels in a shriving pew), Matrimony (the couples' hands joined by a stole, she in late 15th century dress) and finally Last Rites (the dying man on the floor under blankets as at Great Witchingham).
You can see all these panels below - click on them to enlarge them. The font step has a dedicatory inscription to John and Agnes Luce, asking for prayers for their souls. We know that John died in 1489. Perhaps the actual fabric of the building was complete by this date.
Beyond the font stretches the vastness of the building, the arcades gathering the eyes and leading them forward to the great east window. The chancel arch is barely there at all, just a simple high opening; but as MR James pointed out, it was never intended to be seen.The sheer bulk of the rood screen dado tells us quite how vast the rood apparatus must have been here, and the arch would have been pretty well hidden. Everything is built to scale; although everything has been cut off above the panels, probably in the late 1540s, the panels themselves are enormous, almost six feet high. As at Cawston, St Gregory, St Jerome, St Ambrose and St Augustine, the four Doctors of the Church, are on the doors. Either side are just two surviving paintings; to the north are Thomas and James, to the south are Philip and Bartholomew. The empty panels are a mystery; the screen stood here for a century before its destruction, so it must have been finished; and the dado seems too high to have been hidden by nave altars. And yet, it has all the appearance of never having been painted.
Because the building is so vast, the surviving medieval glass seems scattered, but there is actually a lot of it and some of it is very significant. Some was moved during the restoration of the early 20th century, when the hideous modern glass in the north transept was installed, and the yellow galley lozenges were thankfully replaced with clear glass in the 1970s. The images in the east window are mainly figures; old kings kneel before young princes, there are armoured men and angels, the remains of a scaly dragon. In the centre at the bottom is a perfect Trinity shield, displayed by an angel looking askance.
Some of the panels are now in the south transept. These include fragments of a set of the orders of angels. A kneeling figure is Thomas Brigg, donor of the transept; the scroll behind him begins Benedicat Virgo, 'Blessed Virgin'. The mother of God sits surrounded by red glory, and two women holding croziers, one of them crowned, may be St Etheldreda and St Hilda. Certainly, the crowned figure holding a cross is St Helena. You can see all these above.
Despite the wonders of the font, the screen and the glass, the great glory of the building for me is the set of bosses that line the roof of the chancel. They are easily missed, being very high, and need a good lens; a couple of my photos did not come out as well as I'd hoped, and so I must go back, as if I needed an excuse. There are nine altogether, the first and last set against the walls at the ends of the roof ridge, and they form a kind of rosary sequence of joyful and glorious mysteries. They start with the Annunciation in the west (see left) and then continue with the Adoration of the Shepherds, the Adoration of the Magi, the Presentation in the Temple, the Entry into Jerusalem, the Last Supper, the Crucifixion, the Resurrection , and the Ascension into Heaven. You can see these last eight in John Salmon's splendid photographs below.
There is a fine set of return stalls in the chancel. Although Salle probably never had a college of Priests, all those Masses for the dead must have provided plenty of employment, because we know that there were seven Priests here at a time when the population of the parish was barely 200. Bench ends include heads, a dragon tied up in a knot, a restored pelican in her piety, and a monkey. The misericord seats feature faces, including one that is quite extraordinary.
Although the roof isn't up to the glory of neighbouring Cawston, it includes lots of original angels and paintwork, including sacred monograms, and around the wallplate part of the Te Deum Laudamus and psalm 150. These particular texts seem to have provided the inspiration for many late 15th century interiors; the angels in the roof, the animals on the bench ends, the Saints on the rood screen all in harmony: Let everything that has breath Praise ye the Lord! The benches are mostly renewed now, but the pulpit is an elegant example of the 15th century, from the time when a priority began to be placed on preaching.
Curiously, it has been rather awkwardly converted into a three-decker arrangement, probably in the 18th century, with the addition of a platform and desk from a set of box pews. A large sounding board has been placed overhead. The box pews suggest that the medieval furnishings were replaced at an early date, although the replacements too have gone now.
Salle is one of those churches full of intriguing little details that might easily pass you by, so great is the wonder of everything around. Those two little corbel heads above the south door, for instance - what were they for? Perhaps they supported an image that could be seen from the north doorway as people entered, although not a St Christopher as the guidebook suggests, I think. There is a pretty piscina in the unfortunate north transept that has been outlined in wood, a memorial and helm above, a tall image bracket in the corner of the wall of the south transept, a floreated piscina nearby.
There are many brasses and brass inlays in the nave floor; one of the most interesting is a chalice brass (although the chalice is now gone) to Simon Boleyn, a Priest, who died in 1489, and to the east of it a pair of brasses to Geoffrey and Alice Boleyn, great-grandparents to Anne Boleyn, second wife of Henry VIII. Another pair of brasses are to Thomas and Katherine Rose and their eight children. Unlike many churches, Salle actually retains some of the 'missing' brasses, now locked away for safety. It would be nice to think they could eventually be reset in the floor.
One part of the building that many visitors must miss is the chapel above the north porch. There is no sign indicating it; but the doorway, at the west end of the north aisle, is always open. Inside, the vaulted roof is punctuated by spectacularly pretty bosses which you can view at close quarters. The colour is a bit fanciful, but they are fascinating, particularly the central boss of the Coronation of the Queen of Heaven - how on earth did that survive the Reformation?
This is a tremendous building, a box of fascinating delights. What purpose does it serve now? As I said in the introduction, its size was not in response to the needs of a congregation, and as far as worship is concerned it will never be full. It remains constantly in use, however; for regular services in the chancel, sometimes for concerts and recordings, but also of course for the poshest sort of wedding, the kind only the Church of England can provide, and no doubt other elements of the core business of CofE PLC. It is easy to be cynical, but if they ensure the survival of the building, then so be it.
Simon Knott, June 2004
Last week, two of my friends offered to take me on a tour of the jewels of Norfolk churches. Despite having lived in either north Suffolk or Norfolk most of my life, back in those days I had no idea about churches, nor half the villages where these jewels can be found, even existed.
First on the list was Salle.
It was a grim, wet and misty morning when Sarah and Richard picked me up at the Catholic Cathedral, and so we made our way against the rush hour traffic whilst Richard tried to keep the windscreen clear as my clothes dried out causing a slight fog in the car.
Ss Peter and Paul seems to be in the middle of nowhere, with just two other buildings keeping it company. Salle was clearly a rich parish back in the day, as it is a huge church, serving the village and the large country house, lost to view behind trees nearby.
It is a church that has something for everyone: font and cover, support arm for font cover, good glass, fine memorials, two hidden chapels, painted screens and carved bosses. And so much more beside.
Here is what my friend Simon has to say. He likes it too.
---------------------------------------------------
During their awesome reign over the other great teams of Europe in the 1970s and 1980s, Liverpool football club placed a huge sign in the changing room corridor, so that it was the last thing visiting teams saw before they walked out on to the pitch: This is ANFIELD, it warned. The name alone was enough to impress. Similarly, the cover of the guidebook here proclaims, in a single word, SALLE. Again, it suffices; the word, pronounced to rhyme with call, stands for the building. Perhaps only the name Blythburgh has the same power in all East Anglia.
St Peter and St Paul is big. This is accentuated by the way in which it stands almost alone in the barley fields, with only a couple of Victorian buildings and a cricket pitch for company. What an idyllic spot! And yet there is an urban quality to the building, as if this was some great city church in the middle of Norwich or Bristol. It went up in the course of the 15th century, a replacement for an earlier building on the same site, broadly contemporary with neighbouring Cawston. While Cawston was largely the work of a single family, here the building benefited from an accident of history; several very wealthy families owned manors and halls in the parish at the same time, and it so happened that the time was the greatest era of rural church building.
Among them were the Boleyns, the Brewes, the Mautebys, the Briggs, the Morleys, the Luces and the Kerdistons, and some of their shields appear above the great west door, along with two mighty censing angels, characteristic of late medieval piety. A steady stream of hefty bequests meant that no expense needed to be spared, and the mighty tower with its vast bell openings was topped with battlements and pinnacles on the very eve of the Reformation.
As at Blythburgh, St Peter and St Paul benefited from the restraint of a late restoration, and the building as we see it now has no external Victorian additions. It is all of a piece. The porches either side are huge affairs, matching the transepts, and give the effect of a vast animal, a dragon perhaps, sprawling with erect head in the Norfolk countryside. Its tail is the chancel, in itself longer and higher than many Norfolk churches. The aisles are tall, austere, parapeted, the Perpendicular windows arcades of glass. In the porches, the vaulted ceilings are studded with bosses; the central one in the north porch depicts Christ in Majesty, sitting on a rainbow in judgement.
You enter the building from the west, an unusual experience in East Anglia, and your first sight is of the seven sacraments font with its tall 15th century canopy, similar to the cover at Cawston. This one is so big it is supported by a crane attached to the ringing gallery under the tower.
The font below is interesting because each panel is supported by an angel holding a symbol of the sacrament above - a pot of chrism oil beneath Baptism, for example. The panels themselves are simply done, and are not particularly characterful, apart from the way that Mary turns away and is comforted at the Crucifixion. This panel faces west, and then anticlockwise are the Mass (viewed sideways, as at nearby Great Witchingham), Ordination (the candidate kneeling), Baptism (a server holds the book up for the Priest to read), Confirmation (the candidate obviously a child), Penance (perhaps the most interesting panel - the penitent kneels in a shriving pew), Matrimony (the couples' hands joined by a stole, she in late 15th century dress) and finally Last Rites (the dying man on the floor under blankets as at Great Witchingham).
You can see all these panels below - click on them to enlarge them. The font step has a dedicatory inscription to John and Agnes Luce, asking for prayers for their souls. We know that John died in 1489. Perhaps the actual fabric of the building was complete by this date.
Beyond the font stretches the vastness of the building, the arcades gathering the eyes and leading them forward to the great east window. The chancel arch is barely there at all, just a simple high opening; but as MR James pointed out, it was never intended to be seen.The sheer bulk of the rood screen dado tells us quite how vast the rood apparatus must have been here, and the arch would have been pretty well hidden. Everything is built to scale; although everything has been cut off above the panels, probably in the late 1540s, the panels themselves are enormous, almost six feet high. As at Cawston, St Gregory, St Jerome, St Ambrose and St Augustine, the four Doctors of the Church, are on the doors. Either side are just two surviving paintings; to the north are Thomas and James, to the south are Philip and Bartholomew. The empty panels are a mystery; the screen stood here for a century before its destruction, so it must have been finished; and the dado seems too high to have been hidden by nave altars. And yet, it has all the appearance of never having been painted.
Because the building is so vast, the surviving medieval glass seems scattered, but there is actually a lot of it and some of it is very significant. Some was moved during the restoration of the early 20th century, when the hideous modern glass in the north transept was installed, and the yellow galley lozenges were thankfully replaced with clear glass in the 1970s. The images in the east window are mainly figures; old kings kneel before young princes, there are armoured men and angels, the remains of a scaly dragon. In the centre at the bottom is a perfect Trinity shield, displayed by an angel looking askance.
Some of the panels are now in the south transept. These include fragments of a set of the orders of angels. A kneeling figure is Thomas Brigg, donor of the transept; the scroll behind him begins Benedicat Virgo, 'Blessed Virgin'. The mother of God sits surrounded by red glory, and two women holding croziers, one of them crowned, may be St Etheldreda and St Hilda. Certainly, the crowned figure holding a cross is St Helena. You can see all these above.
Despite the wonders of the font, the screen and the glass, the great glory of the building for me is the set of bosses that line the roof of the chancel. They are easily missed, being very high, and need a good lens; a couple of my photos did not come out as well as I'd hoped, and so I must go back, as if I needed an excuse. There are nine altogether, the first and last set against the walls at the ends of the roof ridge, and they form a kind of rosary sequence of joyful and glorious mysteries. They start with the Annunciation in the west (see left) and then continue with the Adoration of the Shepherds, the Adoration of the Magi, the Presentation in the Temple, the Entry into Jerusalem, the Last Supper, the Crucifixion, the Resurrection , and the Ascension into Heaven. You can see these last eight in John Salmon's splendid photographs below.
There is a fine set of return stalls in the chancel. Although Salle probably never had a college of Priests, all those Masses for the dead must have provided plenty of employment, because we know that there were seven Priests here at a time when the population of the parish was barely 200. Bench ends include heads, a dragon tied up in a knot, a restored pelican in her piety, and a monkey. The misericord seats feature faces, including one that is quite extraordinary.
Although the roof isn't up to the glory of neighbouring Cawston, it includes lots of original angels and paintwork, including sacred monograms, and around the wallplate part of the Te Deum Laudamus and psalm 150. These particular texts seem to have provided the inspiration for many late 15th century interiors; the angels in the roof, the animals on the bench ends, the Saints on the rood screen all in harmony: Let everything that has breath Praise ye the Lord! The benches are mostly renewed now, but the pulpit is an elegant example of the 15th century, from the time when a priority began to be placed on preaching.
Curiously, it has been rather awkwardly converted into a three-decker arrangement, probably in the 18th century, with the addition of a platform and desk from a set of box pews. A large sounding board has been placed overhead. The box pews suggest that the medieval furnishings were replaced at an early date, although the replacements too have gone now.
Salle is one of those churches full of intriguing little details that might easily pass you by, so great is the wonder of everything around. Those two little corbel heads above the south door, for instance - what were they for? Perhaps they supported an image that could be seen from the north doorway as people entered, although not a St Christopher as the guidebook suggests, I think. There is a pretty piscina in the unfortunate north transept that has been outlined in wood, a memorial and helm above, a tall image bracket in the corner of the wall of the south transept, a floreated piscina nearby.
There are many brasses and brass inlays in the nave floor; one of the most interesting is a chalice brass (although the chalice is now gone) to Simon Boleyn, a Priest, who died in 1489, and to the east of it a pair of brasses to Geoffrey and Alice Boleyn, great-grandparents to Anne Boleyn, second wife of Henry VIII. Another pair of brasses are to Thomas and Katherine Rose and their eight children. Unlike many churches, Salle actually retains some of the 'missing' brasses, now locked away for safety. It would be nice to think they could eventually be reset in the floor.
One part of the building that many visitors must miss is the chapel above the north porch. There is no sign indicating it; but the doorway, at the west end of the north aisle, is always open. Inside, the vaulted roof is punctuated by spectacularly pretty bosses which you can view at close quarters. The colour is a bit fanciful, but they are fascinating, particularly the central boss of the Coronation of the Queen of Heaven - how on earth did that survive the Reformation?
This is a tremendous building, a box of fascinating delights. What purpose does it serve now? As I said in the introduction, its size was not in response to the needs of a congregation, and as far as worship is concerned it will never be full. It remains constantly in use, however; for regular services in the chancel, sometimes for concerts and recordings, but also of course for the poshest sort of wedding, the kind only the Church of England can provide, and no doubt other elements of the core business of CofE PLC. It is easy to be cynical, but if they ensure the survival of the building, then so be it.
Simon Knott, June 2004
It's not clear to me if this Kaiser is a Special Traveler or a DeLuxe Traveler. They share the same engine.
Note the subtle indentation in the top edge of the rear window. The windshield also had this novelty.
The Kaiser-Frazer Corporation was formed in July 1945 by two successful businessmen Henry J. Kaiser (1882-1967) and Joseph W. Frazer (1892-1971).
Immediately after the war their industrial activities changed to develop and produce cars.
In the first three years the Kaiser-Frazer Corp. was quite successful. The company offered cars simultaneously under two different brand names: Frazer and Kaiser. The sub-companies shared bodies and technics.
The first cars appeared in August 1946.
New for 1949 was the Traveller Utility Sedan. This was a combination of a kind of commercial hatchback with a station wagon. The car had a back door which opened in two parts. The backseat could easily folded down to create cargo space. Industrial designer Howard "Dutch" Darrin (USA, 1897-1982) had a main influence on the styling, but the designs were revised by Robert Cadwallader.
Alex Tremulis (USA, 1914-1991) joined the design team in 1950 (after the 1948 Tucker failure).
For model year 1951 Kaiser offered a restyled Special and DeLuxe range, with a very low belt-line.
Production of the Kaiser model year 1951 started already in March 1950. This was a half year ahead of other car brands.
For 1951 and 1952 the Traveler Utility Sedan was available as two and four door version.
The Deluxe Traveler Utility Sedan replaced the 1949-50 Vagabond Utility Sedan for model year 1951.
3707 cc L6 petrol engine.
112 bhp.
C. 1740 kg.
Production Kaiser Special/DeLuxe series 1st gen.: Aug. 1946-1951.
Production Kaiser Utility Sedan series: 1949-1953.
Production Kaiser Traveler Utility Sedan this version: March 1950-late 1951.
New US reg. number.
Image was found in:
James M. Flammang, Cars of the Fabulous '50s, a Decade of High Style and Good Times, Publications International LTD, Lincolnwood, 1995.
Original photographer, place and date unknown.
Book collection Sander Toonen (2018, present from Willem).
Halfweg, Dec. 23, 2024.
© 2024 Sander Toonen, Halfweg | All Rights Reserved
Twelve new 35mm Films & Free Film Offer from Labeauratoire.
Greetings from Labeauratoire, (LA-BOW-RA-TWAR) your online source for rare and interesting vintage photographic film.
If you didn't see my most recent Blog Post,(labeauratoire.wordpress.com/2014/10/09/12newfilms/) I’ve been hard at work preparing twelve new (to us) films for your experimenting pleasure! AND I’ve also got three of our old favorites back in stock! (see below.)
ALSO: I must inform you that I will be moving soon, so I must pack up my little shop and have it all in storage for a while, which means I must close the online store for a bit starting Saturday October 25, 2014. No orders will be allowed and I won't have access to the products until my move is complete which could take several weeks or more.
This also means that once I re-open, the Shipping Charges will be increased for most customers, especially in Europe.
So if you have been considering making any orders, now is the time to do it. And to encourage you, I'm offering one free extra roll of film for every 4 rolls you buy. So this week only it's buy 4, get one free!
Here's a quick rundown of all we've added:
Valca Grano Fino Positiva: (A very Rare film from SPAIN!)
Kodak Aerecon II (with extra red-sensitivity)
Imation Scotch Color HP 100
Kodak Holographic SO-253
Kodak Ektachrome 64T
FT419X Pan Cinerad Film
Ektacolor Pro Gold 160 GPX
MACO UP 400 plus
Kodak REPRO 2566
Gevaert Copex Pan Rapid Tri 13
Polaroid High Definition 200 Def 1:
Agfachrome CRD
And here are some old favorites we have Back in Stock!
Kodalith!
Lucky 200 Aerial Chinese Spy Film
Kodak RPC
You can read all about them in my extensive Blog Post here: Introducing TWELVE New Films available at Labeauratoire!!!!
Or just visit the Labeauratoire site for plenty of example shots and other details.
Feel free to eMail me if you want to make a custom order, I can likely reduce your shipping costs.
You may not know that I was one of the very first to be gathering old stocks of vintage film to preserve and make available for your experimenting pleasure. Many have joined the bandwagon since I opened my little online store in early 2010, and I know you now have other places you can shop. So I thank you for your continued support.
Soon after I re-open, I'll send out another notice with the new shipping rates and maybe even announce a new film or three ;-)
Thanks again, and Happy Shooting!
Sincerely, Lance
PS: If you haven't already, please join our Flickr group where people are posting their exciting results from these vintage films: www.flickr.com/groups/labeauratoire/
Offer Gallery Event L$10
including hourglass
Taxi: maps.secondlife.com/secondlife/Atlantis%20World%206/48/96...
** ORGREAVE
* The fifth in a series of 'look-back' mosaics using pictures recently made available to me from Adrian Wynn's archive.
Regarding Adrian Wynn's picture collection.
--------------------------------------------
22/2/23
Note: I am currently seeking the higher resolution material from Adrian's photographic collection, both negative and digital. His partner, Annie, has offered to let me use them as I wish, and I hope she is able to find this material in Adrian's extensive collection.
26/2/23
This has now occured and I have both her permission to use original PSD files and negatives and so I have therefore up-dated the mosaic material here, with the higher resolution originals. Our meeting also resulted in my both getting some of Adrian's collected negatives and his digital camera files, from over the last 40 & 20 years respectively, and agreement to use them with due credit to him, which is what I always do here of course.
---------
The second in the set of 2 mosaics which were started in early April and have been on-going, one way or another, since that time; though now time to 'put them to bed' as it were, and get them posted here. I hope there is some interest and enjoyment to be found in what I have discovered in the Film & Digital collection of my late friend, Adrian Wynn.
The scene now changes from one side, Treeton Village in the east, of the vast Orgreave Coking works, to the other, westerly side and the area of Orgreave Village itself. Once again, a railway runs through here and in just as many ways, it was an important connection for the site, similar to the 'Old Road' on the eastern side. There was much more of interest in the railway here as, just a short distance further south, the M.S.L.R. Woodhead electrification terminated in its final overhead gantry, between here and Woodhouse Station to the south-east. A picture of this is featured in the lower left picture of the third of the 'Window on the Past' pieces, here-
www.flickr.com/photos/vinc2020/52775474250/
The Rotherwood Exchange Sidings were in this area, where the traction changes took place between Steam and Electric, the former from London, the latter from Manchester via the Woodhead tunnel. Along with sidings and exchange facilities for the coking works, it was a busy place as I hope the 3 historic pictures shown here, the area now having succumbed to much redevelopment, loss of railway infrastructure, changes in traditional signalling, bridges and possibly not least important, the open aspect of how it all used to be.
Once again, there is just one of my own shots, at upper right, showing the area how it now looks, or at least it did when this was taken, 5 years ago, in 2018, One of Adrian's own pictures at lower left showing Rotherwood Exchange Sidings and the other two, scanned images, from unknown photographers media.
At upper left, one of Orgreave's traction units scuttling about the place with a rake of what I believe are 'B447848 Coke 20-Ton Hopper Wagons' hauling them along from the Coal & Coke sidings, seen under the bridge in the distance, coming under the Highfield Lane bridge and then turning off along the Orgreave Colliery Railway, into the Orgreave Coke & Chemical Works complex to the north-east. The unit is an 0-6-0, 'Janus Class' loco of 48-tons, fitted with two Rolls-Royce type C6SFL engines of 220hp and was last seen in one of my mosaic pieces regarding the removal of the mineral line railway bridge on the Orgreave site, here-
www.flickr.com/photos/vinc2020/51156739822/
with that bridge present in 2011, but removed by 2012, see-
www.flickr.com/photos/vinc2020/50600696236/
The electrification gantries and the 1 inch thick copper conductor are still present at this time so this picture must be before mid-1981, its winter, the sidings in the background look full and there is coal lying about the place, so this is probably the 1970s and again, photographer unknown. The local lighting is via paraffin lamp and it looks lit, semaphore signalling still extant, so the picture may have been taken in the early 1970s. There is no other information about this shot, Adrian never mentioned it and there is nothing on his now static Flickr site or Blog.
In the upper right picture of my own, and just north-west from the the 'Janus' diesel shunter seen in the left picture, along the line under the old Highfield Lane bridge which was the epicentre of the 1984 miner's strike, that season's R.H.T.T., Rail Head Treatment Train. Known colloquially as the 'Leaf Buster' and, as usual, is being operated by Direct Rail Services, the up-side to the operation was during that year's season, the locos allocated to the S.Yorks diagrams were again class 20s but this time, colourful 20007 and 20205. From that date, 5 years ago, here is the narrative accompanying the picture...
'With the camera all set to go and a position on the newly installed, well designed, new bridge, from 3 years ago, and if I say it is 'well designed' what I really mean is .. 'big and heavy'. It follows the N.R. tradition for these structures which are now appearing around the network when the old ones are deemed 'time-expired'.
The R.H.T.T. set appears to be working well, with 20007, in charge and of 61 years vintage with a whipper-snapper at the back, 20205, 10 years the younger. The surrounding terrain northwards to the centre of Sheffield is obvious and eastwards behind the RHTT set the line curves around and splits into two sets at Woodhouse Junction, one continuing on east to Worksop and the other curving around south to join the 'Old Road' at Beighton Junction and then onwards to Barrow Hill and Chesterfield. The RHTT is on the return leg of the jaunt out to Gainsborough Central and will pause in Sheffield briefly before setting off again north on the 3S14. It was along here, in the mid-1990s, just under the bridges to the left that Swallownest Railway Station was to be built, but it never happened, here are the details once more-
'..Swallownest railway station is a railway station which never opened but which was planned to open to serve the growing townships of Aston and Swallownest east of Sheffield. It appeared in the British Railways Working Timetable very briefly in the Autumn changes in 1993 being withdrawn from them at the following change (Spring 1994). The plan was to build a small station at the point where the Sheffield Victoria to Worksop line passed beneath the Swallownest to Beighton road on the south side to the villages. As part of the plan to increase rail usage in the area and with the expansion of Swallownest towards the line this was considered the best location for a station which could then be incorporated into the timetable. On the original maps provided with the transport plan the station was situated east of the road bridge to enable a chord line to be built from the Midland Railway "old road", south of Treeton to the Great Central line, diverting trains via Brightside Junction and the Sheffield District Railway to reach this point before using the chord to return to the Great Central. This plan also involved the reopening of West Tinsley as Meadowhall (Tivoli Gardens), the name coming from the Leisure park planned for the adjacent site, never built. This would also involve the closure of Darnall and Woodhouse. Because of South Yorkshire PTE's policy of developing railways and not closing stations this was revised and it was decided to retain the line and service as it was, the Sheffield District line from Brightside Junction being closed and eventually lifted as far as Shepcote Lane Junction at the north end of Tinsley Yard. Although the station appeared in the working timetable it never appeared in the public timetable or on other station timetables in the area. This showed all trains, in both directions, stopping. However, as the station was not built, it was withdrawn from the timetable at the following Spring changes...'
So, DRS class 20s, are on the afternoon leg of their leaf cleaning duties with green, 20007, ex-D8007leading and 20205, ex-D1081, 'Michael Owen' at the back on the 3S13, Sheffield via Gainsborough Central for reversal and back to Sheffield once more where, a bit later they will sett of for the return journey back to York Thrall Europa. The new bridge beyond the old, single lane one, which is now sealed of and rusting away, is its replacement, carrying footpaths either side of the two carriageways and was erected in 2006 as part of the wider development of the Waverley housing estate, which occupies the northern half of the old Orgreave site. The ramshackle looking assortment of cabins on the left are on the land once occupied by the Orgreave Coal & Coke sidings, which can be seen on the right, under the bridge in the upper left picture here. The 'Janus' loco has just drawn out a rake of coke wagons from the sidings and is proceeding along the Orgreave Colliery Railway and into the site, to deliver its coke for processing. The 'hangers' underneath the old Highfield Lane bridge are left-overs from the the Electrification scheme, the brackets supporting the 1500VDC catenary, one of which is visible in the left-hand picture, just above centre, on the left. Network Rail have indicated it would be too expensive and disruptive to remove this old relic across the line and, just maybe, it shouldn't be...
In the lower left picture, a grand view indeed, taken by Adrian Wynn from Orgreave Lane, in 1981. Orgreave Lane was a little further south-east, 272m than Highfield Lane, it connected Orgreave village with the centre of the Coking works complex and must have been a very busy thoroughfare in its heyday. It ran into the site and was in fact the access road to Orgreave Hall, see-
i.pinimg.com/originals/eb/da/f9/ebdaf92320c717be1530ed43b...
latterly it was used by the National Coal Board as offices, but it has a long history and in fact, I have just discovered this video which explains somewhat of its history-
www.youtube.com/watch?v=m2N0AAVl_vk
About 200 m to the north-west of Orgreave Hall, between here and High Field Lane, was 'Rotherwood' another Victorian house and also used by the National Coal Board, as the 'Coke Ovens Offices' unfortunately both buildings were demolished in the 1990s and nothing now remains of them. Adrian's Blog, chapter 1,
has more information and is well worth a read, there is little point in my repeating it all here. However, 'Rotherwood', was part of that 'fictionalised past' which is mentioned there, and it seems incredible that the change which has taken place since the time of 'Ivanhoe' of 'Coningsburgh' as it was named by Scott, has all changed into what you now see before you.
Rotherwood was the location where the electric passenger services to and from London Marylebone and Manchester Piccadilly exchanged traction, steam services not being allowed to travel through the 'new' Woodhead Tunnel, opened in 1954. For freight, this was a big added effort and expense and it was clear shortly after the line opened, with its already out-of-date electrical system, that its days were numbered; it survived from 1954, to only 1981, 27 years!. I have looked to see if I could find the negative from which Adrian scanned this image, without success unfortunately, as the quality of the scan isn't very good, even though its an 86Mby PSD file. Adrian does mention in the blog mentioned above-
'...I visited the site in the 1980s but my notes and most of the negatives from that occasion are lost. My memory is that it was before the miners' strike of 1984-5 but I can't be sure...' He also mentioned this to me and explained why they were 'lost', which I won't go into here, be that as it may, he clearly already, very fortunately, commenced a scanning operation of some of the material, one of which is shown here.
Electric traction units, class 76, EM1 locos can be seen over on the right, parked up, rakes of coke wagons are everywhere, the OHL equipment confuses the shot, as the similar 25kVAC variant does in these latter days. Towering sentinel in the left background, and the raison-de-etre for all this infrastructure, Brookhouse Colliery located on the Sheffield to Lincoln line west of Waleswood Station; the Rother Valley Viaduct is just visible lower and to the right of its tall chimney. The ever-present line of Super-Grid pylons march across the background scene and pass close to Brookhouse Colliery, they are still there and provide a 'ties-that-bind' aspect to the landscape scenery over many decades. The scene is so cluttered above the tracks with the OHL gantries providing traction current to the main, Sheffield to Lincoln lines, these are the prominent pair coming in from the lower left corner of the picture, the OHL structures also generously distributed amongst the all the sidings, left and right. At the other end of the vast clutter of electrification paraphernalia where the lines converge to 2 main and 2 goods lines, on the left at this location is, remarkably, a 'Water Crane' providing steam locos of that era with their much needed top-up supply. This water crane can be seen in a video up-loaded, again, recently to my second Archive site, see-
www.flickr.com/photos/imarch2/52774946251/
this is 6m 20s long so will have to be downloaded to see the full extent of the video. On that day, 4th June, 2019, back from Worksop, the landscape scene out of the window may be viewed and comprises-
* Part 1. Worksop to Rhodesia, passing Harry Needle's Yard & with GBRf LE, 66749, heading into the Yard.
* Part 2. Wales to Woodhouse passing along the Rother Valley Viaduct and over the 'Old Road'.
and finally, and of interest here-
* Part 3. Woodhouse to Orgreave, passing the base and column of the old Water Crane at 5m 42s into that section.
Beyond the 'Water Crane' the 4 lines continue on, the main lines passing through Woodhouse Station whilst the 2 outer, goods, lines fanned out left and right and passes behind either side of the station. Only the stub of one now remains as part of the Woodhouse Junction run-around loop seen here in February, 2020, a coal train, entering the loop to run around-
www.flickr.com/photos/imarch1/49549709892/
and again here-
www.flickr.com/photos/imarch1/49549716917/
There is little else to say about this and, sadly, just a few months after Adrian took this shot in 1981, the Woodhead line closed and so began the long job of removing all the expensive infrastructure which stretched over close to a 100 miles of track from Manchester in the west to Orgreave and Tinsley, to Rotherwood here, and to the Wath Marshalling Yard, all in the east. The 1 inch diameter copper overhead went first, sold to an outfit in Germany, the main structures consisting of miles of OHL equipment, supports and stanchion posts were all scrapped, the track similarly although some of it still resides, eg. in particular, through what was once Sheffield Victoria, up-grade through Neepsend, Wadsley and on to Deepcar Station, where the line beyond there has gone, but a shot length of privately owned line still runs in to the Stocksbridge Steelworks; for the present anyway, its fate is now uncertain. The tracks though Rotherwood, seen here, are all now plain-lined and, apart from the 'Water Crane' still standing at the side of the tracks, there is nothing to indicate this place ever existed.. nature having taken over the site once more.
Which brings us to the final picture, and one I have never seen before, photographer unknown. It came as a complete surprise when looking through Adrian's collection as he had never shown it to me or mentioned it.. the earliest date I can see for the scanning process is 29th March, 2014, so 9 years ago and whoever took the original, did so from, yet again, the Highfield Lane over-bridge, a blurred part of the bridge abutment can be seen in the lower right-hand corner. What a view it is, although the railway part of it only amounts to about one third of the image, the picture tells so much. It is, once again, a picture taken... well, was going to say 'before the Woodhead Line demise in July 1981, the OHL is still up', but on closer inspection of the Photoshop PSD file, I am finding it hard to see any copper conductor and its support elements.. the gantries actually look to have been cleared of the wires! So, that puts the date at ... early-to-mid-1980s?, semaphore signalling is still present at the line side left of centre but there is also the back of a MAS signal present to its left and another, double-headed type in front of the wagons to the right of the semaphore; they _are_ the old-type versions so may just be 'yard signals'. There are plenty of coke wagons in the 'Coal & Coke sidings', as well as a few box wagons and at least one goods van. In the picture at upper left, 'Janus' can be seen dragging some of thees types of coke wagons forward along the Orgreave Colliery Railway and in to the Orgreave Colliery site. One interesting feature in the background, noticed whilst looking for the OHL copper wires on the original PSD file, what looked like the tops of 2 cooling towers, the Tinsley Towers are much further off and northwards of here so not visible. The Orgreave Coking works Gasometers are too far over to the the right, so, I am not quite sure what the two structures could be to the left of, and behind, the 'T' shaped electricity poles to the right of centre? The old G.C.R. lattice footbridge also stands out clearly at upper left as the lines curve around to the left heading towards Darnall. Another railway bridge crossed these lines around the corner, not visible in this picture, the line heading towards 'Waverley Cottages', a small hamlet in Handsworth where there was yet another small colliery; the bridge was not far away from what was then, the 'High Hazels Colliery'. The footbridge has asymmetric access stairs, and all in what must once have been, the G.C.R. 'butter-milk' colour, now its quite rusty and, from 2016, was replaced with a contemporary equivalent, so pretty awful! The right-hand side of the bridge does however provide a sighting line from the Highfield Lane bridge, see below...
There are also 4 track-workers in the centre of the picture, presumably in what looks like that old-style 'donkey jacket' with the orange shoulder tops. Maybe the gang of 4 are looking at what can be dis-connected and removed as in a few years, this area will be completely cleared of all but the 2 main lines! It must be sometime in late April or early May, like right now in fact, as what looks like Rape seed is in bloom in the fields in the foreground and at centre left and all the 'verdure' is in full bloom as well; shame I can't find the original; if it's in colour this would be a worthy addition to this view.
On further inspection, and using a sight line on Google Earth, with origin the Highfield Lane bridge in the lower right corner and extending the line passed the right-hand side of the G.C.R. lattice footbridge and extending the line on, results in it passing well to the left of the Tinsley Cooling Towers, around 5km away from here, which once stood by the side of the M1; they were demolished in August, 2008. So, contrary to my earlier remark about the two structures not being identifiable, I now do think its the Tinsley Towers, poking out of the level of the rising ground between here and Tinsley with the gables of the ends of those buildings being structures erected with the clearance of land which took place in the 1980s and 1990s, and, it didn't stop there...!
NOTE:
More pictures and descriptive text regarding the Treeton & Orgreave areas around Sheffield, can be found in Adrian Wynn's Blog Archive, 'Orgreave: Landscape & Memory' here-
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Our guide yesterday offered some interesting infomation about this former residence turned event center that isn't on the center's Web site, which appears at the end of this description.
One of the reasons Don Manuel built this house far away from the center of town was to keep his schitzophrenic son Tomasito out of sight, since having a psychotic in the family reflected badly on his kih.
Also, at some point the Franciscan order bought the place, building a lovely chapel.
During War of the Pacific, which Peru lost (though not as badly as Bolivia), the Chileans occuipied the Mansión and used it as a command post. However, the Peruvian side of the story is that the Chileans did not dare assault Arequipa lest their national pride be harmed by the defeat that was almost certain.
The web site for this lovely event function says "The history of the mansion dates back to the beginning of the Spanish occupation of Peru when the founder of the city of Arequipa, Don Manuel Garcí de Carbajal, was awarded the land on which the building stands today and who gave the order to commence this monumental construction.
Its penultimate owner was the illustrious Spaniard Juan Crisóstomo de Goyeneche y Aguerreverre, who converted the building into a country estate and rural palace for ecclesiastical and civil dignitaries of the era.
In 1981 a group of six enthusiasts with a passion for the city’s architecture purchased the building that lay in ruin. Over three long, painstaking months they managed to renovate the entire site, equipping it with comfortable, modern facilities."